Run: 2026-02-19-01KHTY1Y8XFGT0809EPR7XFZXC

Run Details

Model:
GPT-5.1
Duration:
1m 44s
Cost:
$0.040046
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Horror genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <location id="861" name="The Fae Grove" aliases="Isolde's grove, Richmond grove, the Grove" realm="Earth (Fae-touched)"> <parkLocation>Richmond Park</parkLocation> <standingStones>ancient oak standing stones mark the boundary</standingStones> <timeBehavior>time moves differently — an hour inside can be minutes or days outside</timeBehavior> <flora>wildflowers bloom year-round</flora> <description>A hidden clearing that exists in a pocket between Earth and the Fae realm.</description> </location> <item id="2001" name="Heartstone Pendant" aliases="the pendant, Heartstone" type="Artifact" origin="Dymas"> <gemstoneColor>deep crimson</gemstoneColor> <chainMaterial>silver chain</chainMaterial> <size>roughly the size of a thumbnail</size> <behavior>pulses faintly with warmth when near a Hel portal</behavior> <glow>faint inner glow</glow> <description>Given to Aurora by an unknown benefactor.</description> </item> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the horror genre. A character is alone in a strange, isolated place at night. They came here for a reason, but something feels off from the moment they arrive. The wrongness builds slowly — sounds that shouldn't be there, things that move at the edge of vision, a growing certainty that they are not alone. Build tension through restraint, not through gore. Use the codex entries above as your world reference for the character and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The second stone caught her hip and tried to turn her sideways. Aurora shoved through the narrow gap before it could pin her, coat snagging on rough bark that felt more like knuckles than wood. The silver chain at her throat tugged as if caught by invisible fingers, then snapped free with a metallic click. She stumbled three steps into the clearing and only then realised the park had stopped behind her like a door slamming shut. No traffic. No distant shouts from late trains or bars. Just her breath, too loud, and the tiny, traitorous pulse of heat against her breastbone. She cupped the pendant through her T-shirt. The little crimson stone throbbed like a heartbeat that did not match her own. "Right," she said, because the word steadied her mouth if not her hands. "You wanted me here. Congratulations. You got me." The Grove did not answer. It listened. She let her eyes adjust instead of snatching her phone out at once. Shapes gathered themselves out of the dark, not in any kind of hurry. A ring of towering oaks loomed around the clearing, their trunks so thick three people would struggle to encircle one. Wildflowers crowded the ground in fat, careless bunches, petal colours gone to ash in the weak light. No undergrowth crackled underfoot. The place waited like a held breath. Her phone showed 00:03 when she checked the time. Battery at seventy per cent. Signal bar empty. She already knew that last part, but she checked anyway. Some habits bent but never broke. She slid the phone back into her pocket and touched the pendant again. Whoever left it for her had not signed their name, only a cheap printer-paper note tucked beneath her door that morning, all block capitals and no punctuation. BRING THE STONE TO RICHMOND PARK TONIGHT THE GROVE IS OPEN YOU WILL GET ANSWERS After London, after Evan, after the dream that replayed every night with different exits and the same ending, she should have torn the note in half and set fire to it. Instead she stood in a secret ring of oaks and wildflowers in the dead middle of Richmond Park with a stolen Fae bauble at her throat, waiting for a stranger. Her mother would have asked if she had lost her mind. Her father would have asked which law this broke. Eva would have asked why she left the house alone. Aurora shifted her weight from one boot to the other and forced her shoulders to drop from around her ears. "Ten minutes," she said into the trees. "You get ten, then I'm out. I have work in the morning." Something clicked softly behind her. She turned too fast. Neck muscles pulled and the world lurched, then steadied. The stones that marked the Grove's edge loomed where she had just pushed through, twelve warped oaks grown so close their trunks had fused in places into bulging ribs and knotted faces. Gaps between them glowed with nothing at all, blacker than the rest of the park. Nothing moved among them. Not a fox. Not a human. Not the wind. The click came again, to her left this time. She held her breath and listened. Another click, like someone tapping a fingernail against glass, rhythm too regular to be random. Three taps, pause, two taps, pause, three again. It sounded close, but distance meant nothing in the Grove. Sound folded in on itself here. She had learnt that the first time she followed Eva in and spent what felt like an hour looking for her friend, only to find her standing six feet away laughing, as if Aurora had somehow walked in circles around her. Aurora frowned and forced herself not to chase the noise. "You're not ten yet," she murmured. "You can wait your turn." She stepped towards the centre of the clearing instead. Each stride felt half-swallowed, ground springy underfoot like thick carpet or moss-wrapped bone. Flowers brushed her shins. Some melted under her soles with a wet, bruised-green smell. When she reached the centre, the heat from the pendant flared. She stopped at once and dragged it out of her shirt. The chain slid cool across her skin, but the stone lay in her palm like a coal. In the faint light it did not look like a gemstone at all. Something inside it writhed slowly, a thick, dark pulse behind the crimson. "That can't be good," she said. She glanced over her shoulder. The oaks stood where she had left them. The gaps between their trunks still showed nothing. Which made sense. The note had not mentioned a crowd. It also had not mentioned the cold. She frowned and rubbed her arms. Her breath did not mist and her fingers still bent, so no danger of frostbite yet, but a clinging chill wrapped her ribs. Winter in Cardiff felt wet and honest and cut straight through you. This cold slid in without weight, more idea than air. It made the hairs on the back of her neck lift. The click against glass shifted into a quiet scrape. Aurora's head snapped towards it. From the corner of her eye she saw something move between two far trunks, long and pale, as if someone dragged a sheet along the ground. When she looked straight at it, the gap held only darkness. She rolled her jaw. "Fox," she said under her breath. "Or some very committed Morris dancers." The scrape came again, this time behind her. Closer. "Not funny," she muttered. Her hand tightened around the pendant until the edges bit flesh. Heat curled through her fingers, pain sharp enough to feel clean. She drew a steady breath through her nose, then another. Copper stung. It caught her like a memory, that specific tang. Back alley behind Silas's bar, Eva holding a flannel to the gash in her brow with hands that shook, saying nothing. Blood. Fresh. Aurora opened her mouth and tasted metal. She checked her palm. No cut. No blood. Just the faint half-moon marks of the stone pressed into skin. The Grove thickened around her. Not the trees themselves, those remained where they were, but everything between them seemed to draw close. The air, the distance, the shadow. She could have sworn she now stood in a smaller space than when she arrived, as if the oaks had shuffled while her back turned. The pendant pulsed again. The warmth no longer felt comforting. It beat like a countdown. Her phone dug into her thigh with a dull rectangle of pressure. She almost left it in her pocket, then thought of the way time slipped sideways in the Grove and tugged it out anyway. 00:03. She stared. She had walked from the stones, argued with herself, counted clicks, smelt imaginary blood. Time could not still read three minutes past midnight. She looked away, counted to thirty under her breath, then checked again. 00:03. The numbers glared up from the screen, stubborn and unchanged. She turned the phone off, then on. Same time. Same frozen digits. The battery still sat at seventy per cent. It took effort to swallow. "Fine," she said softly. "We play your game." She locked the screen and slid the useless slab back into her pocket. The scrape behind her stopped. The silence that followed felt thicker than any sound. Aurora lifted her head. Her ears strained. She heard her heart, the faint wheeze in her lungs left from teenage asthma, the distant sigh of leaves against leaves above her. Nothing else. No. Not quite nothing. Someone whispered her name. "Rory." The voice came from the treeline to her right, low and conversational, as if the speaker sat at the end of Silas's bar and called for another drink. Male. Warm. Rich Cardiff vowels softened by years in London. Every muscle in her body flinched. She turned slowly. If she moved fast she might run without thinking. If she ran, she risked hitting a tree that had not stood there a moment before, or worse, slipping between those trunks and never quite making it back out. The shadows between the oaks at her right held. The ground lay smooth. The flowers bowed their heads. Nothing stood there. No man, no fox, no Fae. Her chest tightened. "Original," she said into the emptiness. "Haunt me with my ex. Very creative." The pendant burned hotter. Evan's voice came again, closer now, as if he had taken three unhurried steps toward her. "Rory. That you, cariad?" The old pet name slotted into her ears like a key. She swallowed hard. He sounded perfect. Lazy and amused and five whiskies in. No echo, no hollow ring, no ethereal tremor. She could have turned and found him leaning against the bar door, jacket open, that crooked almost-charming half smile he used to wear even when his hand tightened on her wrist. Her left hand brushed her own wrist now. The scar there, small crescent of puckered skin from a childhood fall, ridged under her thumb. Aurora drew a breath that scraped. "You're late," she said. "Took you months to find me in London. Starting to lose your touch." He laughed. The sound came from the opposite side this time. Her left. Much nearer. As if he stood just outside her field of vision, shoulder nearly touching hers. "Still mouth on you," he said. "Still run when things get hard." The pendant seared her sternum. She clenched her jaw until her teeth ached. "You are not here," she said. "I walked into the Grove alone. No one followed. You are not here." Leaves shifted ahead. Not wind. Wind made sense. This moved like something dragged its fingers along every branch in reach. Her throat tightened. She kept her eyes on the ground and spoke anyway. "If this is some Fae glamour," she said, "you got his voice wrong. He never sounded that calm." Silence fell so fast the last echo of her words died mid-breath. Her own voice came back at her from the dark. "Got his voice wrong," it repeated. "Wrong. Wrong." She flinched. That, at least, did not sound like Evan. That sounded like a tape played backwards and slowed, vowels stretched to breaking. Her heart hammered. The pendant flared again. Light, faint but real this time, bled through her fingers. A dull, inner crimson that stained her palm and the front of her shirt like thin smoke. She lifted it higher. The Grove reacted. Not visibly, not in any way a camera could catch, but the air jerked. The hairs on her arms stood straight. Something huge and patient shifted just beyond the ring of trees, like a sleeper turning in its bed. The warmth in the stone did not beat in time with her heart any more. It marched to its own rhythm. Two fast pulses, one slow. Two fast, one slow. Her ribs ached in time with it. Something moved at the very edge of her vision, tall and thin and wrong in its angles. It watched her from between two trunks, then slid away the instant she tried to focus on it. Whatever it was did not rustle leaves or crunch flowers. It left no sound at all. That absence hurt more than footsteps would have done. Aurora's mouth had gone dry. "Show yourself," she said. The words came out rough. "You dragged me out here, you talk like him, you talk like me. Stop hiding." Nothing answered. Instead the smell of copper rolled in harder, thick and undeniable. It wrapped her tongue. Her stomach turned. She scanned the flowers, half ready to see crimson soaking their white and purple heads, but they remained pale and intact. The scent grew until she almost gagged. She took one involuntary step backwards. Her heel struck something solid that had not stood there a heartbeat before. Cold ran up her spine like ice water. The shape behind her did not feel like tree bark. Tree bark had give, texture, life. This pressed into her boot like stone or compacted earth. Wider than a trunk, too. She tried to tell herself she had backed into a root. A rock. Anything that matched the park she knew beyond the stones. A breath stirred the loose strands of hair at the nape of her neck. Not wind. Not imagined. Moist and steady and close. The voice behind her ear spoke in a tone that was not Evan's, or her own, or any human's at all. It scraped and whispered at once, like a song dragged across gravel. "Aurora Carter," it said. "Found you." The Heartstone in her palm erupted into blinding crimson light.
created_at"2026-02-19T12:30:04.072Z" 2/19/2026, 12:30:04 PM
model"openai/gpt-5.1-20251113"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency11433
moderation_latency(null)
generation_time103823
tokens_prompt4560
tokens_completion4115
native_tokens_prompt4064
native_tokens_completion3943
native_tokens_completion_images0
native_tokens_reasoning1278
native_tokens_cached3968
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.040046
router(null)
provider_responses
0
endpoint_id"764eb97f-8bab-4326-b29b-7a8799b00a70"
id"resp_02bb019a5b2a73fe016997024c472081979281566a9a64992b"
is_byokfalse
latency270
model_permaslug"openai/gpt-5.1-20251113"
provider_name"OpenAI"
status200
api_type"completions"
id"gen-1771504204-UWkko86t7YcX9zTPPVeE"
upstream_id"resp_02bb019a5b2a73fe016997024c472081979281566a9a64992b"
total_cost0.040046
cache_discount0.004464
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags15
adverbTagCount1
adverbTags
0"she said softly [softly]"
dialogueSentences29
tagDensity0.517
leniency1
rawRatio0.067
effectiveRatio0.067
83.50% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2121
totalAiIsmAdverbs7
found
0
adverb"softly"
count2
1
adverb"slowly"
count2
2
adverb"very"
count3
highlights
0"softly"
1"slowly"
2"very"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
50.50% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2121
totalAiIsms21
found
0
word"pulse"
count2
1
word"throbbed"
count1
2
word"loomed"
count2
3
word"weight"
count2
4
word"lurched"
count1
5
word"chill"
count1
6
word"pulsed"
count1
7
word"warmth"
count2
8
word"comforting"
count1
9
word"silence"
count2
10
word"perfect"
count1
11
word"echo"
count2
12
word"footsteps"
count1
13
word"stomach"
count1
14
word"scanned"
count1
highlights
0"pulse"
1"throbbed"
2"loomed"
3"weight"
4"lurched"
5"chill"
6"pulsed"
7"warmth"
8"comforting"
9"silence"
10"perfect"
11"echo"
12"footsteps"
13"stomach"
14"scanned"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"clenched jaw/fists"
count1
highlights
0"clenched her jaw"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences220
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount4
narrationSentences220
filterMatches(empty)
hedgeMatches
0"tried to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences234
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen46
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2114
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions19
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions35
wordCount1966
uniqueNames13
maxNameDensity0.46
worstName"Aurora"
maxWindowNameDensity1.5
worstWindowName"Aurora"
discoveredNames
Grove6
London2
Evan4
Richmond1
Park1
Fae2
Eva3
Aurora9
Cardiff2
Silas2
Leaves1
Silence1
Heartstone1
persons
0"Evan"
1"Eva"
2"Aurora"
3"Silas"
4"Leaves"
5"Silence"
places
0"Grove"
1"London"
2"Richmond"
3"Park"
4"Cardiff"
globalScore1
windowScore1
92.75% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences131
glossingSentenceCount3
matches
0"felt like an hour looking for her frien"
1"sounded like a tape played backwards and s"
2"Not visibly, not in any way a c"
10.79% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords1.892
wordCount2114
matches
0"not mist and her fingers still bent, so no danger of frostbite yet, but a clinging chill wrapped her ribs"
1"Not the trees themselves, those remained where they were, but everything between them seemed to draw close"
2"Not visibly, not in any way a camera could catch, but the air jerked"
3"not in any way a camera could catch, but the air jerked"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences234
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs114
mean18.54
std17.33
cv0.935
sampleLengths
012
165
225
321
421
57
674
717
816
940
1015
1161
1220
1310
1420
1519
165
1760
1813
199
206
2180
2210
2311
2436
2511
2653
276
285
2926
307
3162
329
335
3437
354
3612
379
384
3932
402
4132
4211
4315
445
4548
464
4711
4835
491
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences220
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs338
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences234
ratio0
matches(empty)
89.97% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1973
adjectiveStacks1
stackExamples
0"wet, bruised-green smell."
adverbCount88
adverbRatio0.044602128737962494
lyAdverbCount10
lyAdverbRatio0.00506842372022301
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences234
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences234
mean9.03
std7.1
cv0.785
sampleLengths
012
123
220
322
42
58
615
77
814
913
108
115
122
1313
1413
1520
1617
174
187
199
205
213
2210
236
2413
2527
2646
2730
2811
299
3010
3120
327
3312
345
354
369
3732
3815
394
403
413
423
439
446
4515
468
4710
486
4941
50.00% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats19
diversityRatio0.34913793103448276
totalSentences232
uniqueOpeners81
90.09% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount5
totalSentences185
matches
0"Just her breath, too loud,"
1"Instead she stood in a"
2"Just the faint half-moon marks"
3"Light, faint but real this"
4"Instead the smell of copper"
ratio0.027
83.78% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount63
totalSentences185
matches
0"She stumbled three steps into"
1"She cupped the pendant through"
2"she said, because the word"
3"She let her eyes adjust"
4"Her phone showed 00:03 when"
5"She already knew that last"
6"She slid the phone back"
7"Her mother would have asked"
8"Her father would have asked"
9"she said into the trees"
10"She turned too fast."
11"She held her breath and"
12"It sounded close, but distance"
13"She had learnt that the"
14"She stepped towards the centre"
15"She stopped at once and"
16"She glanced over her shoulder."
17"It also had not mentioned"
18"She frowned and rubbed her"
19"Her breath did not mist"
ratio0.341
51.89% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount151
totalSentences185
matches
0"The second stone caught her"
1"Aurora shoved through the narrow"
2"The silver chain at her"
3"She stumbled three steps into"
4"She cupped the pendant through"
5"The little crimson stone throbbed"
6"she said, because the word"
7"The Grove did not answer."
8"She let her eyes adjust"
9"Shapes gathered themselves out of"
10"A ring of towering oaks"
11"Wildflowers crowded the ground in"
12"The place waited like a"
13"Her phone showed 00:03 when"
14"Battery at seventy per cent."
15"She already knew that last"
16"Some habits bent but never"
17"She slid the phone back"
18"Her mother would have asked"
19"Her father would have asked"
ratio0.816
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount4
totalSentences185
matches
0"Whoever left it for her"
1"If she moved fast she"
2"If she ran, she risked"
3"As if he stood just"
ratio0.022
81.88% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences82
technicalSentenceCount7
matches
0"The silver chain at her throat tugged as if caught by invisible fingers, then snapped free with a metallic click."
1"BRING THE STONE TO RICHMOND PARK TONIGHT THE GROVE IS OPEN YOU WILL GET ANSWERS After London, after Evan, after the dream that replayed every night with differe…"
2"The stones that marked the Grove's edge loomed where she had just pushed through, twelve warped oaks grown so close their trunks had fused in places into bulgin…"
3"From the corner of her eye she saw something move between two far trunks, long and pale, as if someone dragged a sheet along the ground."
4"Back alley behind Silas's bar, Eva holding a flannel to the gash in her brow with hands that shook, saying nothing."
5"The voice came from the treeline to her right, low and conversational, as if the speaker sat at the end of Silas's bar and called for another drink."
6"As if he stood just outside her field of vision, shoulder nearly touching hers."
91.67% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags15
uselessAdditionCount1
matches
0"she said, because the word steadied her mouth if not her hands"
50.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags15
fancyCount3
fancyTags
0"she murmured (murmur)"
1"she muttered (mutter)"
2"it repeated (repeat)"
dialogueSentences29
tagDensity0.517
leniency1
rawRatio0.2
effectiveRatio0.2
87.5605%